Wednesday, October 26, 2016

Okay… remember last week? I spoke of a lengthy interview I’d had with well-known
actor and artist, Buck Taylor. In the process, I warned you that this week’s
write-up would be considerably longer. In
that regard, I won’t be disappointing you.
Fact is, the word count is more in keeping with a lengthy feature
article. In the process of writing this
piece, I found myself facing the dilemma of cutting information or separating
the interview into two separate blogs.
Ultimately, neither of those options felt right. It didn’t seem appropriate to overly truncate
the conversation or chop it into sections. There’s just too much information to pass
along – everything from his heroes in the movie industry to upcoming paintings,
advice from his dad, current projects, what he does to relax, and, of course, Gunsmoke. Hopefully, it is of interest. It was certainly an enriching time for
me. So, here goes…

It was a full-time job keeping notes
while Buck Taylor shared stories from his extensive art and film careers.

Over the decades, we’ve been fortunate
to uncover a wealth of transportation history tied to the American West. From personal letters written by legendary
wagon maker Joseph Murphy to early western imagery and more than one wagon
dating to some of the wildest days on the frontier, we’ve celebrated a number
of remarkable finds. As many know, it’s
almost always a surprise when these types of special pieces show up. These forgotten fragments not only enrich our
lives but also give a more complete image of the Old West. How much more is still waiting to be
found? Who knows? I may never come across another rare set of
wheels, one-of-a-kind chuck wagon photo, old wooden advertising sign, or early
set of military harness. Even so, I
think the best part of searching for history is the opportunity to meet folks
from all walks of life in all parts of the country. It’s encouraging to share so much common
ground with so many good people.

So, when I got the chance to interview an
actor with connections to some of the biggest western dramas to come out of
Hollywood, I wasn’t going to miss out. With
film and television credits dating from every decade since, and including, the 1960’s,
Buck Taylor has deep ties to the American West.

Several years ago, my youngest daughter
met Buck and told me, “Dad, I like him.
He has kind eyes.” It’s an
insight that struck me and I never forgot it.
In fact, it’s one of those bits of discernment that reminds me how females
often have the advantage over us guys. More
than once I’ve noticed how the sensitivity of a lady can pick out things that we
crusty males may overlook.

At any rate, as I spoke with Buck, I
found him to be someone who made me think more about the people around us and the
brief, but memorable, moments we share in life…
Someone still seeking to grow and be the best he can be at his craft,
whether painting or acting... and someone
who remembers the power of encouragement – just as he received that same support
from one of his teachers while he was in elementary school.

As of this writing, Buck is 78. Yet, he moves with an energy and alertness
that belies his age. When I asked about
his early art skills, he quickly recalled how, in the fourth grade, ‘Mrs.
Young’ encouraged him to develop his talent.
Like so many teachers, she saw something in the boy that was raw but ready. Ready to be shaped and become all it could
be. As he talked about those early days,
I asked when he first knew he enjoyed painting.
He said he was around 4 years old when he began to paint. He quickly followed up, though, saying it’s a
passion he really didn’t have a choice in.
Emphasizing that point he said, “It’s always been something I had to
do.” I’ve heard that type of comment
from creative folks before. God puts
things in us that just have to come out.

As it turns out, Buck wasn’t the only
one in his family with a penchant for painting.
He mentioned that his aunt was a fashion illustrator for newspapers and
his mother’s father was an oil painter. His
father, Dub Taylor, was an artist in his own right as one of Hollywood’s most talented
and memorable character actors. When it
comes to inspiration for his own paintings, Buck was open about his faith,
giving credit to God.

Entitled 'Home On the Range,' this is one of Buck Taylor's newest offerings.

Highlighting his own experiences as well
as events straight out of the pages of history, the paintings hold a wealth of
stories. The basis for many of those
stories was cultivated from an early age. He described his growing-up years as
“fascinating.” As a boy, he remembers
being on major movie sets with his dad and the likes of Jimmy Stewart, Ben
Johnson, and so many other notable stars.
Seeing such elaborate productions with everyone playing different
roles, young Buck enjoyed seeing imaginary worlds come to life. As he was continually exposed to those western
sets, horses, wagons, stagecoaches, and a world of movie icons, he was
unknowingly being groomed as one of the American West’s most notable
ambassadors.

From John Wayne and Ricky Nelson in Rio
Bravo to Jack Palance in a host of features, Buck was influenced by numerous
actors. One that he mentioned multiple
times in the interview was Burt Lancaster.
Even at a young age, Buck said he wanted to emulate Burt; swinging from
cliffs and swashbuckling his way into the hearts of theater-goers everywhere. He dreamt of capturing the energy and excitement
of his on-screen heroes. Reinforcing
that thought, he mentioned that in his early film days he did a fair amount of
stunt work, often enjoying that more than acting.

According to Buck, it took 6 days to
shoot a single episode of Gunsmoke. With credits on 174 of those episodes, that’s
a lot of time in the saddle - so to speak.
From other serial westerns to more modern shoot-em-ups, he’s played his
share of bad guys as well. Still, he
confided that his personality on Gunsmoke
is much closer to “who I really am.”
That character, Newly O’Brien, was always polite, respectful, and focused
on doing the right thing.

"Over the years, Buck Taylor has shared numerous artistic tributes to his friends and fellow actors from Gunsmoke."

One of his favorite acting experiences
was the shooting of “Cattle Annie and Little Britches.” Among others like Rod Steiger, Scott Glenn, and
Diane Lane, it starred one of his greatest heroes – Burt Lancaster. Filmed in Mexico, Buck said that the cast
actually camped and lived together for 2 weeks prior to the start of
shooting. They wore the same clothes
they would be filmed in later and had a true opportunity to ‘get into
character’ while also getting to know each other before production began. In his words, “It was a great way to start a
film.”

His latest movie appearance is a flick
entitled, “Hell or High Water.” I haven’t seen it but it has received good
reviews from a number of sources.
Roughly, the film outlines the challenges of a family trying to make
good in the world while other forces are intent on taking away their hope and
property.

I asked Buck to share the best advice he
ever got from his dad related to acting.
He immediately replied, “Make sure you look the part. Dad always said that acting was 10% talent
and 90% looking the part.” Anyone who’s
ever watched Dub Taylor at work knows he was a master at ‘looking the
part.’ It’s a reference that reinforces
the importance of an actor bringing a character to life.

I saw this same desire to re-create
history literally leap out of Buck as I shared a few of our period chuck wagon
photos with him. As he looked at the
images, one old photo included a group of well-worn cowboys. With their horses as a backdrop, they had gathered
around the centerpiece of the roundup – the chuck wagon. As Buck surveyed the group, he pointed to one
of the cowboys and exclaimed, “That’s who I want to be!” There was a light in his eyes that reminded
me of times when I was a kid picking out someone in a movie that I wanted to
be. In this case, Buck’s pure and
reactionary thoughts reflected how truly committed he is to having his art imitate
real life.

Having such a busy schedule of film
projects, art shows, and promotional appearances, I asked him to share his
favorite form of relaxation. He
described his house in Texas. Sitting on
a bluff facing west, overlooking the Brazos River, he verbally painted a scene
with him sitting alongside his wife, Goldie, who he credits as being the love
of his life. He said he enjoys watching
the sun go down and seeing God paint another masterpiece in the sky. In fact, as accomplished as he is, Buck was
even more complimentary toward his wife of 21 years; admitting that she’s both
smarter and a better rider than him.

As we talked, he shared some thoughts
about one special painting that he’s yet to start but has been contemplating. His description was as vivid as his art. The colors, contours, and mood on the untouched
canvas were easy to visualize. He asked
me to imagine four equine tied up outside the Long Branch saloon. One, he said, is a mule, two are saddle
horses, and the other is hitched to a buggy.
As he described the scene, it was clear that the idea was rich with
symbolism. He mentioned that the setting
takes place at night and said that we can see the oil lamps burning through the
windows of the saloon. “Oh, yeah,” he
said, “and it’s softly snowing.” As he
continued the description he shared that the painting doesn’t literally mention
who’s inside but, as you look at it, you realize there are some special friends
just beyond the door – Matt, Festus, Doc, Newly, Miss Kitty, and Sam, the
bartender.

As he opened up about the painting, I
saw a transformation take place. There
was that light in his eyes again; an excitement and real connection to the
piece. Likewise, his description made it
real. I could see it. In fact, I could practically feel the cold
air and then, walking toward the building, a brief pocket of warmth beckoning
me closer to the door. As the small
flakes floated down, they left a light dusting on the ground while simultaneously
conforming to the shape of the saddles and contrasting against the black,
folding top of the doctor’s buggy. The
entire scene was one of calmness and tranquility. There was beauty and richness in this quiet
reflection on an otherwise ordinary sight.
There was also an element of finality to the art; a dénouement of lives
well spent and character duly rewarded.

Lastly, I asked him if anyone ever
refers to him as “Walter?” It’s his given
name but, I’ve never heard anyone reference him that way. He looked away during the question and as I
waited for an answer, he became uncomfortably quiet. Then, he looked straight at me, tightened his
lips, and lowered his head. I waited,
not knowing what to expect. Then, slowly
looking up, he feigned a scowl and sternly said, “NO!” As I wondered how to respond, a smile spread
over his face and we both laughed, sharing in the joke. This Hollywood star has worked and been friends
with some the biggest names on the silver screen. He’s traveled extensively, been lauded with
awards, and holds immense talent. Still,
he carries a down-to-earth, very approachable personality with a quick wit and
engaging sense of humor. In a word, he’s
real.

One thing had become even more
noticeable to me as I wrapped up the interview.
It was the very thing my daughter had mentioned years earlier… the
strength of his ‘kind eyes.’ I saw them
as countless people would walk up, listening while we were talking. As he noticed each person, he asked to be
excused so he could take interest in them.
Many had their own stories and Gunsmoke
memories to share. Each time, I waited
my turn to continue the interview. It
dawned on me that it would be hard to know how many lives Buck and his fellow
actors have touched from that one show.

The interview took place in the middle
of his art exhibit at Silver Dollar City
in Branson, Missouri. During my flurry
of questions, there was a moment when a child could be heard crying. Buck raised up and stepped in her direction, clearly
concerned and ready to assist if needed.
At that point, it occurred to me that Buck Taylor isn’t really an actor
at all. After all, an actor has to
practice his lines and rehearse a role.
Yet, Buck is just who he is. A true
cowboy, military veteran, and western hero; not playing a role but, more often
than not, just being himself. While I
waited for him to return from a visit with another fan, I drifted back to a Saturday
evening at my grandparent’s country home. It was summertime. The rhythmic chorus of cicadas, crickets,
frogs, and an occasionally whippoorwill filled the warm night air. The sky was clear. I had never seen it so full of stars. I could smell the dust blowing off the dirt
road in front of the house. In my mind’s
eye, I stepped up on the front porch and peered through the old multi-pane
windows. There, in the living room, another
episode of Gunsmoke was coming to a
close. On the floor was that 9-year-old
boy I used to be. As the credits rolled,
I watched the kid push himself up and look back at his grandpa. They made eye contact and both smiled; each fully
content with the time they shared, company they kept, and memories they were
making. These are the ties that bind, the
core of a nation blessed with freedom and the reason so many have given so much
in defense of this land.

Ultimately, we’re all a reflection of
what we do with the talents, experiences, and opportunities we’re gifted
with. We have one chance in this life to
make a difference. One chance to leave
an endearing legacy. My personal thanks
to Buck (and others) for stepping away from the importance of business and
limelight of celebrity to make one more memory.

After appearing in hundreds of
television and movie productions and finishing more paintings than I can count,
it would seem that the man has made an indelible mark on the spirit of the
American West and creativity in general.
When I asked him how he wanted to be remembered, he responded as if his elementary
school teacher, Mrs. Young, was still talking to him. He shared a bit of advice that he said he’s
always tried to adhere to… “Never quit and never give up.”

Buck Taylor’s western art can be found
in countless homes, businesses, and organizations around the world.

Please Note: As with each of our blog writings, all imagery and text is copyrighted with All Rights Reserved. The material may not be broadcast, published, rewritten, or redistributed without prior written permission from David E. Sneed, Wheels That Won The West® Archives, LLC

Wednesday, October 19, 2016

Where does time go? It doesn’t seem that long ago that I was stretched out on the floor in front of my grandparent’s television on a Saturday evening. I would have been around 8 or 9 years old,
intensely focused on one of my all-time favorite serial westerns, Gunsmoke. Then and now, the theme music was highly
identifiable. Whether you’re a fan of
the earlier episodes or all of them, it’s easy to appreciate the lineup of
characters. Who didn’t find themselves
reading the opening credits and perhaps even imitating an announcer heralding
the cast… Milburn Stone as Doc. Amanda Blake as Kitty. Ken Curtis as Festus. Buck Taylor as Newly. And James Arness as Matt Dillon. There was no mistaking that these characters
were good folks with amazing friendships.
It was a combination that made all the difference in the trying times of
the Old West.

Today, the show still holds great
memories. Anyone growing up as a fan of
the program doesn’t need a time machine to be transported back. Like an old friend, the music and episodes have a way of drawing us back to spend more time together. And why not?
The show was masterfully written with extremely well-developed
personalities. So significant is the
program that it still stands as television’s longest-running prime time drama
with the most episodes - 635. It
originally ran on radio and then captured the imagination of television
audiences for another 20 years (1955-1975).
Re-runs continue to be aired today, over 60 years since the show’s
promotional introduction by none other than John Wayne.

For over 60 years, the cast of Gunsmoke have endeared themselves to fans of all ages.

For many, the program and its characters
are much more than fictional representations of moments on the frontier. The series is a connection to a way of life;
a time when doing the right thing wasn’t just a convenient slogan. It was the fabric that held family, friends,
communities, and an entire nation together.

So, when I got the opportunity to spend
a few hours with one of the cast regulars, I wasn’t about to pass up the chance
for an interview. From acting to
painting and a seemingly endless trail of appearances, Buck Taylor has been focused on the West for virtually his entire life. The results of those creative efforts have produced
countless true-to-life exploits from the western frontier.

While this (and next) week’s blog may
seem like a slight departure from my regular focus on western vehicles, the
overall message is still on target.
How? Well, for years I’ve shared
concerns about how period information, artifacts, and even the original
vehicles have been overlooked and are rapidly disappearing.
Truth is, the more I’ve studied this subject, the more convinced I’ve become
that we only know a fraction of what there is to learn. For instance, there were thousands of patents
on early wagons and western vehicle designs.
Most go completely unnoticed today.
Why are they important? Because
each one has the potential to help authenticate, identify, date, and define the
true value of a particular set of wheels – not to mention that many of these
innovations were heavily contested in legal wranglings as wild as anything in
the West! Just as valuable are a host of
all-but-forgotten details related to paint, wheels, timber, construction
features, and even correct terminology for a particular piece. In fact, one of the most exciting aspects in studying America's first transportation industry is that the subject is so deep, there’s always something new
to learn. It happens to me almost
daily.

Reinforcing that point, every day we
have a choice to help save or lose valuable links to our past. The first step in preserving that history
takes place when we help others grow closer to the rich heritage and exciting stories
accompanying this part of yesterday.
After all, it’s only through active sharing that any of us can
experience the full depth, spirit, and life lessons found throughout the
stories of the frontier. So, while
painting and acting make up Buck Taylor’s livelihood, he’s also a promotional
ambassador for the American West – just like many of you reading this now. The upshot to it all is that the more the
subject is effectively promoted, the more likely it is that valuable parts of
history are recognized and saved.

My goal in next week’s blog is to share
a few things about Buck Taylor that many have never read or known. Hopefully, it helps add even more depth and
appreciation for all who devote so much time to perpetuating our western
legacy. From chuck wagon competitors and
historical organizations to collectors, writers, publishers, and enthusiasts in
general, everyone plays a vital role.

Similarly, we’ve been privileged to talk
to a lot of good folks over the years.
We even have one reader who complimented us by saying that our blog is
the first thing she reads before her feet hit the floor on Wednesdays. Well, all I can say to that is you may want
to move your coffee maker closer to the bed for next week’s blog because it
will likely be a fair amount longer.
Even so… maybe, just maybe, it helps reconnect us all a little closer to
the incredible spirit and allure of the Old West. Maybe it even rekindles a special memory you
haven’t thought of in quite a while. If
that spark can make you smile, slow you down, and draw you nearer to the most
important parts of your life – well, maybe we’re all gaining some ground.

See ya next week!

Please Note: As with each of our blog writings, all imagery and text is copyrighted with All Rights Reserved. The material may not be broadcast, published, rewritten, or redistributed without prior written permission from David E. Sneed, Wheels That Won The West® Archives, LLC

Wednesday, October 12, 2016

Long before auto makers were showcasing
their hottest concepts at car shows, the carriage and wagon industry was laying
the foundation for these head-turning events.
In fact, even in the wildest days of the Old West, horse-drawn vehicle
builders were displaying their most innovation and attractive creations.Many of these venues took place at highly
publicized gatherings such as local and state fairs as well as national and
international expositions.The
atmosphere of these special events created tremendous opportunities for wagon
and carriage makers to promote their wares to large crowds with a heightened
sense of excitement.

As the auto industry still does today,
horse-drawn vehicle makers had several ways to set their products apart at
these shows. They jockeyed for prominent
locations, created impressive displays and signage, printed distinctive and
colorful support materials, worked to secure articles and editorial magazine features, and showcased unique vehicles that captured the
intrigue and imagination of all who strolled by.

Among the more recognized show pieces
that collectors and enthusiasts may think of today is the giant farm wagon
built by the Moline Wagon Company for the 1904 World’s Fair in St. Louis
(Louisiana Purchase Exposition). During
the same event, the legendary Luedinghaus-Espenschied Wagon Company took the
time to stack a number of their wagons.
So effective was this massive pyramid that the image, itself, was
trademarked by the firm. The
accompanying tagline touted the reputation and quality of the brand by stating,
“We Tower Above All.”

This 1904 photo shows the ‘tower’ of vehicles
displayed by the Luedinghaus-Espenschied Wagon Company.

At the 1893 Columbian Exposition in
Chicago, Studebaker pulled out all the stops with a set of wheels often
referred to as the ‘aluminum’ wagon. It
was (and still is) an extraordinary piece to see. In fact, the showpiece cost them over $2,000
to build – easily ten times the then-retail price of many farm wagons. At the time, aluminum was expensive and
difficult to work. Even so, in an effort
to reflect their serious commitment to craftsmanship and innovation, Studebaker
used the element to remove roughly two-thirds of the heaviest hardware and
weight from a standard-sized farm wagon.
Those efforts to lighten the design while keeping it strong meant that
the vehicle could be moved with less effort while hauling more cargo. If all of this sounds familiar, it
should. Nearly one hundred twenty-five years after
Studebaker was the first to use aluminum in a vehicle, auto makers around the
world continue to work with this metal.
Driving home that point, almost a year and a half ago, I wrote a blog on
the continued use of aluminum in some vehicles today.

This original Studebaker ‘Aluminum’ wagon is on
display at the Studebaker National Museum in South Bend, Indiana.

Another rare exposition wagon that can
still be seen today is the Studebaker ‘Centennial’ wagon which was unveiled at
the first World’s Fair in Philadelphia in 1876.
Celebrating the 100th anniversary of the signing of America’s
Declaration of Independence, this massive event is known as the Centennial
Exposition. The site, itself, is said to
have included more than 200 buildings spread out over several hundred acres. Lasting for six months, the event hosted more
than ten million visitors, including dignitaries from all over the world.

Among those with vehicles on display in
the Centennial's transportation section was a relatively small maker with big dreams. Hailing from Seymour, Indiana, Jacob Becker,
Jr. unveiled an ornately crafted wagon with multiple patents protecting its
innovative features. You can read more
about this custom creation by checking out the exclusive story on our website.

Like the use of aluminum, the concepts of twin axle
steering and front wheel brakes seen here have also been incorporated into
automobiles.

There are a few other wagons I’ve come
across in my research that may well have been used as a promotional
vehicle. That said, I’ve been unable to
confirm some of those suspicions with primary source documentation – at least
yet. As difficult as all of this
research is to complete, I’ve been a little more successful locating period
photos of other pieces also shown at the Centennial event. One example is an original cabinet card we
found years ago. It features a patented crane neck dray built by John Beggs & Sons of Philadelphia. The photo below shows a portion of that
image. Engineered to replace the more
common two-wheeled drays of that time, the wagon is equipped with the
relatively new-to-the-market Archibald wheel hubs. Established in 1839, the Beggs firm is said
to have been a significant producer of wagons for the Union Army during the
Civil War.

Our efforts to learn more about this custom dray
built by John Beggs & Sons also resulted in the discovery of extensive original color descriptions for the vehicle.

With custom design elements and patriotic-themed
crests, this nineteenth-century wagon was likely built for a special event or
promotional show. Even so, we've yet to conclusively identify this
builder.

Most folks never give a thought as to how
complex America’s horse-drawn vehicle industry really was. In fact, I’ve had more than one strange look
from individuals when I’ve made comments regarding the industry's sophistication and commitment to innovation. The truth is, we know so
little about this part of our past. Yet,
it is the very industry that propelled our nation forward in times of peace…
and war. From show-stopping promotional
displays to advanced concept vehicles, the most successful manufacturers left
no stone unturned in the areas of advertising, marketing, sales, and product
innovation. It’s a legacy of exceptional attention to detail that
paved the road for countless ideas that are still used today.

Please Note: As with each of our blog writings, all imagery and text is copyrighted with All Rights Reserved. The material may not be broadcast, published, rewritten, or redistributed without prior written permission from David E. Sneed, Wheels That Won The West® Archives, LLC

Wednesday, October 5, 2016

As most of our regular readers know,
when it comes to the wheels that built the American West, we share a tremendous
amount of history inside each of our weekly blogs. Even so, there’s a lot more information
located in our maker archives and ongoing research files. As I’ve mentioned before, the depth of this
subject is so vast that it’s hard to find a single early source outlining what
happened with who, when, how, where and why.
So… what early assets do we rely on?

First and foremost, we look to as many
primary sources as possible. Original
promotional literature, photos, business correspondence, government records,
period articles and books, unaltered vehicles and parts, old directories, and
even obituaries can provide valuable insights into America’s first
transportation industry. First hand
experiences are also importance resources.
To this day, I regret not talking more about this topic with my grandparents and great
grandmother while I had the chance.

While this advertisement dates to the mid-1860’s, an earlier 1859 promotion published by Mr. Kern offers “substantial” wagons for emigrants and miners moving west.

My great-grandmother was born in 1884,
less than eight years after the Battle of the Little Big Horn. Growing up near Indian Territory in western
Arkansas, she lived more than 100 years, witnessing massive product innovations
and equally significant lifestyle changes.
She was 11 years old in the spring of 1895; the same timeframe that saw
the passing of a number of legendary wagon makers such as Jacob Kern of St.
Louis and O.R. Johnson, the then-owner of Fish Bros. Wagon Company in Racine,
Wisconsin. That same spring, one of the
originators of the legendary Studebaker Wagon Company also passed away. Understandably, news of Henry Studebaker’s
death was covered by many news outlets.
Immediately below is one of the accounts as it was published in the
April 1895 issue of the trade magazine known as The Hub…

“Henry
Studebaker, one of the founders of the great Studebaker wagon establishment at
South Bend, Ind., died March 2d, aged sixty-eight years.

Mr. Studebaker
was born at East Berlin, in Adams County, Pa., October 5, 1826. He was the sixth of a family of thirteen
children born to John and Rebecca Studebaker.
The family emigrated to Ashland County, O., when Henry was nine years of
age. Serious reverses had overtaken them
in their old home, and they made the trip from Pennsylvania to Ohio across the
Alleghenies, with all their earthly belongings in an old fashioned “schooner”
wagon, built by the father, who was by trade a blacksmith and wagon maker. Henry was apprenticed to a country
blacksmith, working at the forge in summer, and going to district school in the
winter. Later he returned to the family
home and completed his trade with his father and brothers, Clem and J.M., at
the old shop near Ashland.

In 1847 Henry
had accumulated enough to buy a horse, and with a few extra dollars in his
pocket he started out to seek his fortune in the West. He went to Goshen, Elkhart County, Ind., and
there engaged to work at blacksmithing.
He sold his horse, intending to have no temptation to yield to
homesickness and go back to Ashland. But
at the close of several months’ service, without other pay than his board, all
the compensation which his employer was able to give him was an old silver
watch. Discouraged with this experience,
he turned his face homeward, and walked the entire distance from Goshen to
Ashland, O.

In 1850 Clem
Studebaker went to South Bend, and the next year Henry and the rest of the
family followed. This trip the family
accomplished in two wagons, mainly constructed by Henry himself for this
especial purpose. In February, 1852,
Henry and Clem Studebaker, with a joint capital of $68, opened a blacksmith
shop for horseshoeing and wagon making in South Bend. There, under the firm name of H. & C.
Studebaker, was instituted to the business to-day known to the world as that of
the Studebaker Bros. Manufacturing Company.

In 1858, the
business had become prosperous for the time, and as hard work at the forge had
told on his health and strength, he sold out his interest to his brother, J.M,
purchased land and turned his attention to farming, making the same success at
that calling as in manufacturing, and left behind him a handsome rural estate.”

In between horseshoeing and general
blacksmithing work, Henry and Clement managed to build two wagons during their
first year – a far cry from the 100,000 annual production mark the firm would
eventually achieve. Their first
significant financial shot-in-the-arm came as a result of instabilities in Utah
during 1857. During those events, Army
orders for wagons provided important cash flow for the duo. Even so, as a pacifist in the Dunkard faith,
Henry is said to have had difficulty accepting the company’s role in war
conflicts. He eventually left the
business, selling his share to another brother, John Mohler (J.M.), in 1858 for
$3,000. More government contracts came
during the Civil War and production rates gradually climbed to 8 completed
wagons per week.1 The
Studebakers weren’t slowing down and, by the late 1860’s, the brand was going
head-to-head on the frontier with well-established western freighting brands
like Espenschied and Joseph Murphy.2
By the end of the 1870’s, the company was producing around 20,000
horse-drawn vehicles annually. Through each of these and subsequent eras, the wagon designs
and paint configurations continually changed as part of the company’s commitment
to brand excellence.

Henry Studebaker was the oldest of the five Studebaker brothers.

From the first wagon built in 1818 by
the brothers’ father, John Studebaker, to the last Studebaker wagon built in
1920, the family name became synonymous with exceptional quality, innovation,
and leadership. Today, collectors clamor
over just about any original vehicle truly authenticated as a Studebaker. It’s a badge of honor and a continual
reminder of what brand-building success looks like. After all, it’s been at least 50 years since
Studebaker built automobiles and almost a full century since they constructed
the last horse-drawn wagon in South Bend.
Even so, the name remains extremely popular among collectors and, for
those willing to dig a little deeper, primary source documents can add even
more appreciation to a world of antique wooden wheels.

1
According to “Land Owner” periodical records within the Wheels That Won The
West® Archives.

2 D.P.
Rolfe – Early wagon freighter, Wheels That Won The West® Archives

Please Note: As with each of our blog writings, all imagery and text is copyrighted with All Rights Reserved. The material may not be broadcast, published, rewritten, or redistributed without prior written permission from David E. Sneed, Wheels That Won The West® Archives, LLC

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About Me

The Wheels That Won The West® collection spans more than two centuries of horse drawn vehicle manufacture. It contains scarce imagery, specifications, correspondence, promotional literature & other all-but-forgotten historical details of the workings of America’s early western transportation industry. The subject is a huge and virtually untouched aspect of western study; rich with untold stories of personal, corporate & national dreams. Focusing on the heavier farm, freight, ranch, coach, business & military vehicles that built the western frontier of the U.S., our research and articles have been published by the American Chuck Wagon Association, National Stagecoach & Freight Wagon Association, Santa Fe Trail Association, The Carriage Journal, Farm Collector, Driving Digest & Wild West magazines as well as the Wheels That Won The West® website & numerous other traditional and on-line publications.
Complementing our commitment to research, publishing, entertainment & promotional projects, we are frequently called on for vehicle consulting, identification & authentication work. If you have a question about our products & services, please drop us a line. We’d love to hear from you.